IT'S THE SEARCHERS NPL 18092 (-64) UK MONO

For background check post on their debute     https://monolover.blogspot.com/2013/10/meet-searchers-npl-18086-63-uk-mono.html    . This was the band's third album in just a little more than a year and they were still going strong with high charters in US, UK and other parts of the world. At about this time the UK music scene started to change. Eventually bands went from doing covers of US hits to performing selfpenned songs and the classic merseybeat sound was mixed up with blues, vaudeville and art music, partly enabled by growing studio capacities. But there's still not a trace of that here. Fourteen cuts blending soft up-tempo and sincere pop ballads, much in the style of Everly Brothers or Buddy Holly, sung in harmony with rudimentary rock backing. All very bright and kind. Don't know if you must have been there to appreciate it, but I do. Apart from old-timer gems like "Needles And Pins" and "Don't Throw Your Love Away" I get top audio and a friendly atmosphere all through, enough to put me in a good mood. Original mono issue also in Germany (Vouge LDV 17008). US had their own versions, but most of the tracks showed up on "This Is Us" (Kapp KL 1409/KS 3409). Vinyl and CD reissues all over the world on Pye, Marbel Arch, PRT and Castle. First UK had label as shown here and laminated flip/back cover. (PÖY*)

THE HOLLIES/WOULD YOU BELIEVE ? PCS 7008 (-66) UK STEREO

Had the mono version of this for decades and always loved it (see earlier post). Stylewise a transition album, mixing covers with selfpenned, carrying some of the old rock feeling but at the same time moving towards a more elaborate melodic songwriting with a psych taint. No doubt inspired by their label mates Beatles, yet with a personal sound. For a while in the seventies I also had an original UK stereo issue, but didn't like that at all. Through the years I've lost track of why it didn't attract me, so when I found this copy in a used bin a while ago I decided to give it another chance. Thought that with more mature taste and better equipment I would find it more pleasing. Only counting pressing quality and clarity it's very good, but all tracks are mixed exactly the same way - most of the instuments to the left and all vocals to the right. You get the impression it was made in one stressed-out sitting without considering the music. It is true stereo, still as such only slightly better than a fine rechanneling. I'll probably keep it as a filler but when it comes to listening and enjoying the mono remains best choice. As I understand the cuts from this that showed up on the US Imperial stereo versions of "Beat Group" ( LP 12312) and "Bus Stop" (LP 12330) didn't use the same mixes. Japan 2014 Parlophone CD/mini-LP (WPCR-15418) came with both mono and stereo versions plus a couple of French only edits. First UK had label as shown here and laminated flip/back cover. (HÖLY*) (CPYC*) (PÖX*)

BLOOD SWEAT & TEARS/CHILD IS FATHER TO THE MAN CS 9619 (-68) US MONO PROMO

Band formed by former Blues Project members Al Kooper and Steve Katz together with Jim Fielder (earlier with Tim Buckley, Mothers Of Invention and Buffalo Springfield), Fred Lipsius (previously with Ron Metcalfe), Randy Brecker (who'd played with Clark Terry and Thad Jones), Bobby Colomby, Dick Halligan and Jerry Weiss. In a way a US supergroup, built around an Al Kooper idea of a rock band with a prominent horn section. Today this debute is widely considered a classic album and forerunner both to seventies prog and the more list friendly brass pop and rock later developed by groups as Chicago and later BS&T settings. However it didn't do great at the time, halting at #47 on Billboard, and after some disagreements on creative matters Kooper got sacked. The band's musical direction changed towards a more crowd pleasing outcome for the following albums, eventually resulting in list toppers and Grammy awards. So this is the only BS&T album with the originally intended sound. Songs seemingly as much a product of studio jams as preset conditions and though there are some artificial overdubs - as the backward guitar in "My Days Are Numbered" - the overall impression is live in the studio. Very good listening, honest and heartfelt, with top performances. Favorite tracks - "I Love You More Than You'll Ever Know", "Somethin' Goin' On" and "Just One Smile". Had the UK mono fold earlier, but it didn't come out totally right - somewhat unbalanced with partly fallible separation. Considering the stereo's lack of compability this mono promo has to be a totally different mix - strong with perfect balance and separation all through. Album issued and reissued on vinyl, reel and CD all over the world through the years. First UK on CBS (S/63296). Japan 2012 CD (Sony SICP 20411) came with three previously unissued mono takes as bonus. Premiere US had "two-eye" label as shown here and glossy cover. (ÖXCÅ*) (YZÄ*) (ÄLCÖ*)(ÖRJ*)

JIMI HENDRIX & CURTIS KNIGHT/STRANGE THINGS HA 8369 (-68) UK MONO

It would be impossible even for the most fanatic Hendrix completist to keep track of or collect all separate issues with pre-fame recordings. The records may have differing copywrites, labels or sleeve designs, but most of them sharing about the same tracks. As a fan it is important to know origins and history, even if musical and audiophile qualities are rather low, and with this huge panoply one have to choose. The earliest I've seen so far are the US 1967/68 Captitol issues "Get That Feeling" (ST/T 2856) and "Flashing" (ST 2894), the German/Scandinavian 1968 "Soul" on Telefunken (PPX 1) and two 1968 UK ones on London - "Get That Feeling" (SH/HA 8349) and this. All those were released on major labels with high quality sleeves, have surprisingly good audio and above all they're not posthumous but were contemporary with "Axis" and "Electric Ladyland". Both UK built on the US Capitol issues with interrelating track choices. Not sure if Capitol used separate mono mixes for GTF or if that was a fold, or if this is true mono or not, still the audio here is amazing - loud and clear with big bass giving an authentic front row feeling. It couldn't improve the performance, but the sound and total package makes it one of the better choices. Favorite tracks - "Love Love" and "Simon Says". First had label as shown here and laminated cover. (JHÄ*)

BLACK SABBATH/NEVER SAY DIE 9102 751 (-78) UK

(A continuation of yesterday's "Technical Ecstasy" post). At the time the band was deep down on drugs and alcohol, having a hard time to keep a straight line. As the story goes - just before recording this album Ozzie left and was replaced by Dave Walker (used to the superceder role as he earlier had replaced Jeff Lynne in Idle Race, Danny Kirwan in Fleetwood Mac and being part of Kim Simmonds renewed Savoy Brown line-up 1971). A couple of fresh songs were written and rehersed, but as they were going in to the studio to finish the job Ozzie returned and wanted his place back. Walker went out and since Ozzie refused to sing any of the songs co-written by him they were forced to compose new numbers while recording, a fact used to explain the album's somewhat uneven outcome. Putting the background story aside and just listen it's still a pretty good LP. As with "Tecnical Ecstasy" audio is too compact for my taste, damping the classic Sabbath sound and making it less dangerous, but you get lots of fine guitars, on the spot backing and signatue Ozzie vocals. Though some of the songs may be regarded as fillers there are others that would have embellished any previous album, if they'd got the same studio treatment - as "Never Say Die", "Johnny Blade" and "Over To You" - those alone making the album worth having. Premiere US on Warner Bros. (BSK 3186). First UK had label as shown here and thin fully laminated cover with glossy picture/credit inner. (WLÖ*) (BLÄC*)

BLACK SABBATH/TECHNICAL ECSTASY 9102.750 (-76) UK

An album I didn't like on release, but that has grown on me through the years and today doesn't seem bad at all. It got tons of negative hype back then - critics dissed it, band members were far from satisfied and it didn't sell as much as their previous - and I went along with all that. Bought the album, gave it a couple of spins and put it away. Listening now and concentrating soley on songwriting and performance it's totally ok Sabbath - kind of melodic and very raw with top guitars, strurdy backing and Ozzie in really good nick. Sadly most of it killed by bad mixing, production and audio. Not pointing fingers here, but imagine the songs with same separation and transparency as on "Sabotage" - letting it all out with full power - and you have an almost as good album. For exemple "You Wont Change Me" could have been an epic, if not so compressed it sounds like recorded under water with a drowning Ozzie hardly audible at parts. But that's the way it is and there are fine moments here even for the old Sabbath fan. My favorites - "Back Street Kids" and "Gypsy", both classic heavy riff rockers with some of the old feeling. Premiere US on Warner Bros. (BS 2969). First UK had label as shown here and thin matt cover with picture/lyric insert. (WLÖ*) (BLÄC*)

HOOTENANNY SINGERS POLP 201 (-64) MONO SWEDEN

This record would be the deepest dig into ABBA pre-history. A four piece male vocal/acoustic combo formed in the small town Västervik 1961, including the then 15 y.o. Björn Ulvaeus. After a time of mostly local performances they won a 1963 radio talent competition, caught the eye of producer/songwriter Stickan Andersson and became the first signing to his newly started Polar Records, making this the premiere issue from the label. Years before the ABBA members met and the music on the LP has very little to do with that, but still important as the earliest connection between manager, label and one member of the future ABBA. This Hootenanny Singers debute has six songs with Swedish lyrics, five English and one sung in Spanish. All very soft with four male voices, singing unison or in harmony, sparsley backed by acoustic guitars, banjo and double bass. Style clearly inspired by contemporary US and UK folk-pop grups, but with a characteristic Swedish idiom. Recording sounds live in the studio, uncorrected with reverb as only addition. The album wasn't a big seller, but the 45 pick - "Jag Väntar Vid Min Mila" (I'm Waiting By My Coal Kiln) - became a hit and the first in a long line of high charters on the Scandinavian top lists. As far as I know not reissued on vinyl or CD though songs from it have shown up on various compilations through the years. First had label as shown here and thin fully laminated cover with top opening. (SCÄ*) (CCÖ*)(ÄBBÖ*) (PKÖL*)

BEACH BOYS/SURF BEAT FUN SHZE 175 (-66) GERMANY

Even if I have all favorite original LP:s by a band plus a large number of collections mostly carrying the same songs there will always be another I just must buy. As this German Beach Boys compilation. Though all tracks are from big selling albums and most of them also have surfaced on numerous collections through the years, the variation here is still rather uncommon and the quality so high all through I couldn't resist it. Fully laminated cover with nice lay-out and a map of "fan photos" as insert. I also like the sturdy vinyl and label design with old style rainbow having both Capitol and HörZu logos. As far as I can hear "Then I Kissed Her", "Help Me Ronda", "California Girls", "Dance Dance Dance" and "Barbara Ann" are enhanced monos, the remaining nine true stereo. I mostly find fake stereos disturbing, but not that much here. It's so well done with such great audio they level well with the others making it truly enjoyable listening all the way. Also originally issued without HörZu logo as Capitol SMK 74133, manufactured by "Bovema" (Dutch domestic or German export?). German reissues on both green and pink Capitol labels came with the original SHZE 175 number. (BÅB*) (GÖXÄ*)

JEFF BECK GROUP/COSA NOSTRA BECK-OLA UK MONO SX 6351 VS. STEREO SCX 6351

Always took for granted this mono was a fold, as issued late 1969 and coming out more damp and with a lot less edge than the stereo. But since I still see dealers flaunting it as a separate mix and having friends totally convinced it is I thought I'd compare with a UK first press and settle the matter once and for all (at least for myself) - using the mono button on the stereo to mimic a fold. Comparing intros and outros all songs coincide exactly, as does balance. Clearly the same mix, but there is a difference - connecting the stereo channels actually gives a rawer and more fulfilling audio. The mono issue sounds a tiny bit more compressed and smoother, like a radio promo, which may have been the original purpose. Same thing as with Rolling Stones "Let It Bleed" mono (  https://monolover.blogspot.com/2015/12/rolling-stoneslet-it-bleed-skl-5025-lk.html  ), released at about the same time. So this mono is something else, but to my ears not in a good way. Very first UK had labels as shown here with "Sold In UK..." at bottom edge, matt flip/back cover and EMI ad inner. (JÄBÄ*) (YMÖ*) (CPYC*)(MÅW*)

URIAH HEEP/HIGH AND MIGHTY ILPS 9384 (-76) UK

To my taste the last good Uriah Heep album. After this vocalist David Byron got sacked because of severe alcohol problems. Much due to the style of new vocalist John Lawton (earlier in Lucifer's Friend) musical direction was eventually changed towards square hard rock and it would never be the same again. The LP suffered relatively low sales on release - Billboard #161 and #55 in UK - and wasn't well recieved by critics. Still today I see it being badly treated in different medias. If that reflects the common reaction I'm not in. I hear lots of good things on it - drum-bass collaboration between Lee Kerslake and John Wetton works excellent all through, Mick Box plays some really fine guitars and Byron shows he was still going strong, not as convincing as on earlier albums but beautiful anyway. Though tracklist is a little uneven there's enough joy to make it worthwhile. My favorite "One Way Or Another" hard hitting rock with some nice falsetto pitched in, "Misty Eyes" and "Midninght" have a lot of the old Uriah Heep magic and "Make A Little Love" another fine rocker. Maybe not their best, but far from bad and well worth having. Issued and reissued on vinyl, cassette, 8-track and CD all over the world through the years. First US on Warner Bros. (BS 2949). Japan 2013 CD (Sanctuary Midline UICY 20467) came with eight bonus tracks. Premiere UK had label as shown here, matt cover and glossy picture/lyric inner. (ÖRHÄ*) (PRÖZ*)